Category: Cosmology

Ideas about the nature of the whole

Understanding the Kaaba: Ark, Pole, and Time

The post discusses the prophet Mohammad as the last prophet of Allah, emphasizing the origins of Islam in Mecca, the role of the Kaaba, and its connections to Abraham and Ishmael. It explores the Kaaba’s symbolism as an Ark, its geometric significance, and how it represents a divine relationship with time and celestial events, illustrating the intertwining of religious and astronomical concepts.

first published 2016
now part of chapter 8 of Sacred Number: Language of the Angels (2021)

The prophet Mohammad declared he was the last prophet of Allah, a name resembling the El Shaddai (trans. Lord God, KJV), the god of Abraham in the Bible. Mohammad galvanised the Arabs and nearby nations with an original religion, branching off from the start of the Patriarchs found in the Bible’s first book, Genesis. His story follows Ishmael, the first son of Abraham, from whom the Arabs believe themselves descended.

The Kaaba of Abraham (left) and Mohammad

Mohammad’s religion of Islam (“salvation”) started in Mecca where he received visions of angels and spontaneously recited suras (verses) which became the Quran and associated texts. An unknown history of Abraham and Ishmael emerged, intimate with Mecca, long a spiritual center for the Arabic world. Mecca’s principle monument, the Kaaba or “cube”, has taken a number of forms. Adam located it as a dolmen created by God when Adam was formed; Ishmael built the next design for his father, “open to the sky”, using surface stones from nearby mountains; and Mohammad’s dispensation adds ancient stories about cubic arks and located these as a renewed Kaaba, the prime center, or Pole of redemption for the world.

The three keys here will be the Kaaba as an Ark, the Pole (Qutub) and model of Great Time.

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Centers of the World

Explores the concept of sacred centers in relation to ancient civilizations and their geographical patterns. It discusses how these centers, influenced by Earth’s nature, manifest through numerically significant shapes and polygons. The movement from the poles affects mapping and measurements, revealing harmonious relations in spatial designs reflective of cosmic principles.

18th-century illustration of Mount Kailash, depicting the holy family: Shiva and Parvati, cradling Skanda with Ganesha by Shiva’s side

A culture often creates centers, While someone may gets powerful, and everything gets built around them and the rest is history, the concept of sacred center came from the nature of the Earth itself. In Egypt the meridian was both explicit and dominant in the south to north flow of the Nile, after the desertification of the Sahara. In Britain and elsewhere however, large landscape geometries were created of an approximately circular nature and this is a natural result of the near-spherical Earth.

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Modularity of Seven

Sacred Geometry is metrical, it is based upon the interactive properties of “natural” (that is, whole) numbers and cosmic constants.

We live in a civilization where everything is thought to be functionally due to forces and laws, these all calculated using numbers and algebra. For this reason, it is hard to see the influence of numbers acting directly in situations to reveal that, geometrical forms are only possible due to numbers. One such form is the equal perimeter circle and square: this figuring heavily in my later books, as an ancient model, and in postings on this website (opens in new tab).

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Eleven Questions on Sacred Numbers

In 2011, Sacred Number and the Origins of the Universe was nicely re-published in Portuguese by Publisher Pensamento in Brazil. Their press agent contacted my publisher for an email interview from a journalist who posed eleven questions about sacred number.

Interview:

1) Is the universe a mathematical equation?

If the universe is a creation then it needs to have organizing principles governing its structure. I believe that this structure is governed by what we call sacred numbers. Numbers relative to each other form proportions that in sound are perceived as musical intervals. The universe is more like a set of musical possibilities, making it more dramatic and open-ended than an equation.

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Harmony of the Biblical Patriarchs

This extract from The Harmonic Origins of the World (p58-62) shows how what are taken to be arbitrary numbers, in the narrative of the Patriarchs, expressed knowledge of planetary resonances.

above: Diagram of the Bible code of “holy mountains”: Products of the powers of five upwards and of the powers of three across, each mountain within a limiting number if note D is {60, 120, 45, 180, 720} .

Female archetype Eve, “mother of all living,” becomes Abram’s wife Sarai. Childless, Abram was encouraged (by Sarai) to have first son Ishmael by concubine Hagar, but the Lord God (the mountain god whose number sums to 345) renames Sarai as Sarah and Abram as Abraham. At a miraculous 90 years of age she gives birth to Isaac (“he laughs”), then reportedly dies at 180 years old. It is harmonically relevant that (a) the giving of heh = 5 to both Sarah and Abraham elevates them from their former selves onto the second row, “stepping up” like the god Ea in Sumeria, and that (b) Adam’s number 45 has now been doubled to 90 and can form an octaval womb in which Isaac can be born, his life to then end at the doubling of Sarah’s 90 years to 180 years.

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Gurdjieff’s Diagram of Everything Living

Proposing a designed nature to the Universe.

above : Figure 1 The Diagram of Everything Living post: created: 28 October 2017

Gurdjieff first presented his ideas to groups in pre-revolutionary Russia. Amongst his carefully chosen students it was the habit to reconstruct talks and diagrams as much as possible, an endeavour that gave us a textbook of Gurdjieff’s ideas called In Search of the Miraculous (P.D. Ouspensky, 1950). This early form of the teaching was radically revised and extended by Gurdjieff, now as an author, during the 1920s, producing All and Everything whose part one was Beelzebub’sTales to his Grandson (G.I. Gurdjieff, 1950). Prior to drawing this diagram just after February 1917, Gurdjieff had been presenting ideas about transformation of energies, human and cosmic, using the musical theory surrounding the octave of eight notes. The Diagram of Everything Living was “still another system of classification… in an altogether different ratio of octaves… [that] leads us beyond the limits of what we call ‘living beings’ both higher [and lower] than living beings. It deals not with individuals but with classes in a very wide sense.”

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